I have always enjoyed the subtle over the monumental. Perhaps this is because subtleties are often overlooked and when you find them, you feel like you're in on on some kind of inside joke or secret. Shadows are a perfect example of this subtlety. They exist everywhere but are often disregarded, unless of course we need them to cool off on a hot day. My work is as much about the shadows as the structures that cast them. While my sculptural work is very rigid and tightly controlled, the shadows they cast are soft and their shapes can be changed simply by changing the direction of the light. I appreciate the stark contrast of the two. The challenge that I seek through my work is persuading the viewer to look at the piece as a whole and examine not only the structure and shadow, but the way the piece effects his or her intellect.
The process in which I build the structures is very intuitive. The wood often determines the shape of the next cut, but ultimately I shape the piece according to what aesthetically pleases me. I often construct these objects in a way so as to create the illusion that the wood is being twisted or torqued. While the shape of the work is very chaotic, it is painstakingly controlled and I derive satisfaction from the immovable nature of the end product. Because of the importance of the shadows, lighting is equally important when installing the piece. It is similar to staging a portrait. Both the sculpture and the backdrop of the wall play a role in the cognitive snapshot. My objective is to engross the viewer with a sense of euphoric bewilderment.